A new kitchen and bathroom complete the guest studio phase of Yolk House in shades of jade— a nod to the 1939 vintage of the original house in Los Angeles.
A set of wood toys. Familiar objects disassemble and reassemble into myriad new hybrids.
Commissioned illustrations for Art Paper's 2018 Architecture and Design Issue.
Laurel Consuelo Broughton
Two perpendicular shed forms connect to become a new poolside home in Malibu, California completed in 2016.
In progress. The addition of a new kitchen, library, gardens and new ADU and garage cottage to complete a 1939 compound in Los Angeles.
WELCOMECOMPANIONS is a design project that reinterprets everyday sartorial accessories and objects through a formal and surrealist lens. The project seeks to inject a sense of play, suspense and narrative into the objects we interact with and depend on on a daily basis. It suggests the novelty that in our accessories, function is not wholly dependent on utilitarian form.
Launched in 2011 WELCOMECOMPANIONS has been featured in numerous publications including Vogue.com,Paper Magazine, Vogue Italia, Elle Italia, Newsweek, Marie Claire Italia, Lucky Magazine and Nylon Magazine among others. WELCOMECOMPANIONS have been sold in boutiques in Los Angeles, New York, Portland, San Francisco, Sydney, and Hong Kong. They are designed and made in limited editions in Los Angeles.
Visit the whole collection and shop at www.welcomecompanions.com.
All the Books, a custom wallpaper for the Paper Cuts booth at the New York Art Book Fair 2013.
An over-sized temporary picnic installation for Le Corbuffet meets Mrs. Schindler, the launch event of Esther Choi's cookbook Le Corbuffet at the Mak Center in Los Angeles during the run of the exhibition Soft Schindler.
A project and installation for the Santa Monica Museum of Art now the ICALA series, Wall Works.
October 10, 2013 – May 17, 2014.
Blackholes invited over 500 school children in grades K-12 to speculate through drawing about what happens when we imagine something we know as something we don’t know. Each student was given a blank milk carton and was asked to draw a graphic abstraction of outer space on the interior. A shape of their choosing was then cut out of the carton so the “space” inside could be visible from the outside. The hundreds of milk cartons together in the installation become a milky way while each individual carton contains a unique black hole. Blackholes toys with the double meanings and associations of words and related objects.
Musuem of Art)
The EGG STOOL pillow is a handmade, limited edition piece produced by WELCOMECOMPANIONS for LA><ART.
A storage and mobile display cabinet for WELCOMECOMPANIONS. For a durable work and display surface we used black and white checked linoleum tile as the countertop.
Rather than perform an elaborate game of the Emperor’s New Clothes with the chess pieces as most ‘designed’ chess sets have, The World is Flat takes on the territory of play as a previously overlooked ground for exploration. By changing the shape of the game board from a field / plane to a sphere and adapting the grid to maintain the traditional number of spaces, the basic rules of play hold but the game is fundamentally altered by the new space which it occupies.
Powder coated steel, marker, readymade chess pieces, magnets.
Exhibited as part of the show CHESS, at Jai & Jai Gallery, Los Angeles.
A collection of short films and animations written and produced for WELCOMECOMPANIONS' launches:
The Navy Yard Shuffle
Welcome to the Jungle
Miranda July Introduces The Miranda
Two-Face Behind the Line
Prototype Cake and Sandwich-shaped Iphone cases.
A deck of playing cards for WELCOMECOMPANIONS.
GALLERY ATTACHMENT was an architectural intervention in the City of Los Angeles constructed out of the debris and discarded elements of the contemporary physical and cultural environment. Through the re-composition and de-saturation of these elements, Gallery Attachment re-calibrates everyday objects into new architectural potentials. The installation invites viewers to mingle and explore the piece from the inside allowing for a seeing and re-seeing of the component’s characteristics and the construction of the whole. Gallery Attachment appropriates a parking lot as a landscape for play and contemplation.
Across the street As Builts at Jai & Jai Gallery was a corresponding show that documented the individual parts of Gallery Attachment. While Gallery Attachment is conceived as a one-to-one construction, As Builts is a show of drawings and models. Rather than the contents of a gallery as material to be displayed and appreciated, this content is raw material that is yet to be assembled.
GALLERY ATTACHMENT was produced as part of World Wide Storefront, a Storefront for Art and Architecture project. Additional support was provided by the Los Angeles Forum for Architecture and Urban Design and The John Chase Memorial Fund.
A collaboration with ROLU for High Desert Test Sites 2011 curated by Brooks Hudson Thomas.
Here—There, There—Here was a five-foot-wide, two-mile-long roll of white felt, unrolled in a dry lake bed. Its surface was interrupted by a series of triangular volumes of various size and dimension that shift the scale from the monumental to the human. The volumes invited actions—to sit against, to measure with, to get inside of, to touch—while the line was traversed.
A guide to the piece was designed by Benjamin Critton and given out on site.
Kristin Dickson of Rowena Sartin designed the wearable.
Published in zingmagazine No 24. A series of illustrations that imagines a the essential programs of a small village as everyday objects scaled to accomodate them. An open book is a big box store, a make-up compact is a recreation center with swimming pool, a hat is a single-family house, a cordless telephone is a highrise apartment complex, an umbrella is a museum with rotaing restaurant at the top.
In the tradition of grand hotels, Hotel Top Hat exudes elegance at every level. With its profile and massing, Hotel Top Hat is formal attire for whole city. Taking advantage of the opportunities presented in a simple top hat’s shape, the programmatic ensemble includes drive court entrances, promenade, theater, shopping, and market hall at ground level, restaurants and cafes overlooking the brim level park grounds and boat pond, rooms and suites above, and ballrooms and swimming facilities on top with 360 degree city views. Automobiles are whisked to below level parking. Famous guests, affairs, and events are too many to mention.
Souvenirs: New New York Icons at Storefront for Art and Architecture in New York 2017
Unbeknownst to many, Sheepshead Bay is named after the now elusive Sheepshead Fish, Archosargus probatocephalus. A peculiar looking creature with a slight resemblance to a sheep’s head, the fish’s most notable feature is its human-like teeth. It is odd to find a set of chompers like this on a fish. At first glance you’d think they were photoshopped into real life. The Sheepshead Fish is like humans—omnivorous. Hence our similar teeth. But why limit such pearly whites to just humans and fish? We can share these chompers with other things—like our phones. Just plug the Sheepshead Chompers into the audio jack and go!
Imagining two pairs of highrises as two pairs of legs standing in conversation. The grids in the woman's stockings and the man's trousers become fenestration patterns on the facades.
Exibited at the Chicago Architecture Biennal in 2017.
The De Beistegui Apartment in Paris was a rooftop penthouse designed by Le Corbusier for playboy Charles de Beistegui and completed in 1931. One of Le Corbusier’s lesser known projects, it is often touted as either his flirtation with Surrealism or a work in which his client pressured the Modernist into the costume of the Surrealist. In planning, the penthouse was a minimalist white box is placed atop a Haussmann-style apartment building on the Champs-Élysées. While in some ways a feat of modernism in the sky, the space itself was designed with several strange characteristics. First, it was not wired for any electrical lighting leaving only candles for illumination. Second, it included a built-in periscope with which to view the city. Third, a series of hedges as well as interior walls were designed to slide and reposition using electrical motors. And fourth, the highest point of the rooftop garden was a small, square walled “room” with wall heights that hid what would have been an unobstructed view of the Parisian skyline. The apartment no longer exists. Left behind are only a handful of images. It is this status—a ghost captured in a photograph—that makes this work of architecture simultaneously real and imaginary. The limited photography and the oblique views that are captured of the spaces leave the De Beistegui Apartment a palimpsest onto which new architectural narratives can be written. The blankness and height of the garden room walls suggest an amnesia to the reality of Paris beyond them. The framing of the view rather then being specific to reality, allows for multiple fictions about what remains unseen. The walls transform the distant monuments of the Arc de Triumph and the Eiffel Tower into small objects. A magic scale shift occurs, and beyond the walls of the garden room the city is transformed into an urbanity of objects.
A public sculpture that imagines a tiny planet embedded into the ground perfect for lounging and picnicking on and around.